Dance and choreography leaves traces on your body, and they are often physical and concrete: growing muscles or the trauma of injuries. But the repetition and memory of movements also leave traces. The choreographies of the past continue to dwell in the dancer’s body. In the solo Body of Work, Daniel Linehan explores these traces in his own body.

Behalf is a danced dialogue between the Thai dancer Pichet Klunchun and the Taiwanese dancer Chen Wu-kang. This creation began as a series of conversations about their cultural backgrounds and the patriarchal social structures in both Thailand and Taiwan. A series of dance solos results in a mutual dialogue, which then moves on to involve a local musician and the audience.

In this tribute to Ian White (1971-2013), Jimmy Robert investigates the worlds of disco and death. Expect a critical meditation on the legacy of the 1980s with a specific focus on AIDS, activism, gender and race.

As the world stands on the verge of collapse, a man and a woman exchange a razor-sharp dialogue based on a caustic text by Heiner Müller. Frank Vercruyssen from tg STAN and Cynthia Loemij from Rosas share the stage and explore the essence of the relationship between words and movement. Again at Kaaitheater after 20 years!

Five performers travel through the history of dance – and possibly into its future. Is it possible, today, to still believe in eternal values and universality? Things are built up only to fall down again, in much the same way that we long to constantly rediscover ourselves. In Built to Last (2012), Meg Stuart worked for the first time with existing classical music.

How does dance think through Eleanor Bauer and how does Eleanor Bauer think through dance? In this solo, the American choreographer and performer Eleanor Bauer embraces the particularity of dance-thought as synthetic, complex, change-oriented, fantastical, and multi-faceted. She works with the frictions, collisions, translations, love affairs and gaps between dance and language.

Unfortunately, we have to cancel both shows due to health issues of one of the dancers.

In the American Midwest in the 1880s, white people hid illegal alcohol in their boots when they traded with Native Americans – an effective strategy to neutralize rebellious Native Americans through drunkenness. ‘Bootlegging’ was born. Now we are presenting Bootlegged: an encounter between Boyzie Cekwana and Danya Hammoud: two bodies, two stories, and two histories.

The Zulu Nation break dancers are returning with The Battle of the Year Benelux! During this qualification round – with group battles, 1 on 1 duels, and a kids’ round – the bboys have to convince an international jury to get into the final in France, where the best break dancers in the whole world will compete for gold.

July 1968. The legendary Paradise Now by The Living Theatre premieres at the Festival d’Avignon. The actors attempted to unleash a revolution by getting the audience into a state of readiness. Half a century later, Michiel Vandevelde is exploring the vestiges of the legacy of May ’68. Will new future perspectives open up when thirteen young people survey a half century of history in a wild choreography of iconic images?

Ligia Lewis turns to the colour red – in between love and rage – while asking questions about (re)presentation, abstraction, and the limits of signification. Three performers push their bodies against the boundaries of the theatre while simultaneously showing their humble relationship with it. Exhaustion reaches increasingly high levels on a journey to the stage's essential matter: black. Lewis was awarded the prestigious Bessie award for minor matter.

What is happiness? In what dark and remote corners do we have to crawl individually and collectively to find it? Together with dancers from the EnKnapGroup, Pavol Liska and Kelly Copper have created a bizarre, painful and hilarious horror comedy about voracious expansion in the Wild West and all the violence that ensued as a result.

Meyoucycle sounds like ‘musical’ pronounced in a strange accent. Along with composer Chris Peck and four Ictus musicians, Bauer blends together all the ingredients for a musical, producing a completely new, hybrid genre. The piece is about you and me and everything in between. That’s right, a me-you cycle.

When Vincent Dunoyer began to create performances himself it struck him that dance industry professionals would always ask him the same thing. ‘Can you send us a DVD of the performance?’ In DVD DVD he creates a montage of personal and professional memories, like a lecture interspersed with video and dance. Both intimate and universal!

Six performers and three musicians meet one another in a nightclub. Or is it an arena? In this unreliable, underground refuge, we hear thumping basses and playful jazz. UNTIL OUR HEARTS STOP was one of the absolute highlights of last season, and more than deserved its nomination for the Theaterfestival 2016.

THIS SHOW HAS BEEN CANCELLED. For sixty years, the artistic careers of Valda Setterfield and Gus Solomons Jr. were linked to the most prominent artists and artistic developments. Eszter Salamon convinced the now 82-year old Setterfield and the 76-year old Solomon to appear on stage.

During an improvised encounter, Meg Stuart and Tim Etchells negotiate, renegotiate and explore the themes and methodologies that characterize each other’s work: from presence and absence, need and loss, to fragmentary storylines.

Mette Ingvartsen explores the way in which we deal with our bodies and sexuality today. She leads you through videos, performances, books, films, movements, text and image and thus brings history back to life.

Meyoucycle is about you and me and everything in between. Indeed, a me-you-cycle. Bauer presents a science fiction concert about completely normal emotions in this age of hyper-capitalism and technological progress.

Brussels has always been a city that embraced exiles.The Price of the Ticket continues this tradition. The Fashion designer and activist Rachida Aziz is now inviting a new generation of refugees on stage. Expect an evening of music, dance, poetry and video.

Burrows and Fargion offer a chance to see their 2014 Venice Biennale piece Body Not Fit For Purpose. It is an attempt to reconcile personal politics with the difficulty of saying anything of consequence in a dance performance, all the while revealing the strange permeability of dance to any message that it meets.

With Dance # 2 Christine De Smedt and Eszter Salamon continue to build on Dance # 1 / Driftworks. The first part – listening & mouthing – was inspired by Inuit throat-singing duets. In part two – words & gestures – a dialogue develops in which syllables and words become attached to movements. What does a choreography look like when it resembles a ping-pong game of question and answer?

Technological developments lead to a potential new era, that of Technological Singularity. Sandy Williams creates a performance about the tension between our raw, flawed and incomplete human nature and the immaculate potential of a digitised future.

The dancers from Rosas will teach you dance pieces from Anne Teresa De Keersmaeker’s exhibition Work/Travail/Arbeid. At the end of the workshop the results will be shown to friends and family in a proper mini-performance.

In 1998 Thomas Plischke graduated from PARTS with a dance solo, and Kattrin Deufert graduated from the Freie Universität Berlin with a text. For Niemandszeit they let their own students rewrite the two works. deufert&plischke perform the new choreography and the new text, together with the audience!